I’LL BE GONE IN THE DARK returns with a special episode directed by Elizabeth Wolff (HBO’s “I’ll Be Gone in the Dark”) and executive produced by Liz Garbus (HBO’s “I’ll Be Gone in the Dark” and “Who Killed Garrett Phillips?”). The critically acclaimed six-part documentary series based on the best-selling book of the same name debuted in June 2020 and explores writer Michelle McNamara’s investigation into the dark world of the violent predator she dubbed “The Golden State Killer.” In the summer of 2020, former police officer Joseph James DeAngelo, also known as the Golden State Killer, was sentenced to life in prison for the 50 home-invasion rapes and 13 murders he committed during his reign of terror in the 1970s and ‘80s in California. Many of the survivors and victim’s family members reconvened for an emotional public sentencing hearing in August 2020, where they were given the opportunity to speak about their long-held pain and anger through victim impact statements, facing their attacker directly for the first time and bringing a sense of justice and resolution to the case. This powerful special closes one chapter in McNamara’s investigative work on cold cases, and brings to light another, the rape and murder of Kathy Lombardo in 1984 in McNamara’s hometown of Oak Park, Illinois, which sparked her life-long fascination with unsolved murders. This special episode brings shocking new revelations to light in the Lombardo case and features the late McNamara’s own research into the rape and murder, which led to her return to Oak Park in 2013 to investigate it on the ground, quickly finding inconsistencies in the police work. Featuring the late McNamara’s own archival research and voice recordings, and interviews with residents of present-day Oak Park, this special episode highlights the trauma that persists when a crime goes unsolved, with McNamara’s work standing as a stark reminder of the importance of citizen sleuths who remain dogged in their search for the truth. I’LL BE GONE IN THE DARK co-producer and co-director Elizabeth Wolff joins us to talk the years-long collaboration with series director Liz Garbus and her team, the art of storytelling, defining her own personal boundaries and becoming a mom.
The I’ll Be Gone in the Dark docs-series was directed by Academy Award nominee and Emmy® winning director Liz Garbus (HBO’s “Who Killed Garrett Phillips,” “Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper”) and produced by Story Syndicate. Additional directors on the series include Elizabeth Wolff, Myles Kane and Josh Koury.I’LL BE GONE IN THE DARK will also be available on HBO On Demand, HBO NOW, HBO GO and partners’
“This is both a satisfying story of justice restored, and a moving tribute to one woman’s refusal to give up on forgotten victims.” – Anna Leszkiewicz, New Statesman
“Deviating from the well-trodden arc of most true-crime documentaries, I’ll Be Gone in the Dark tells several parallel stories, each of them interwoven, yet discretely fascinating.” – Kylie Northover, The Age (Australia)
“”I’ll Be Gone in the Dark” is more than a true crime documentary, although it succeeds in a terrifyingly brilliant way.” – Kristen Lopez, indieWire
“Sensitive, unusual, uplifting, revelatory and deeply moving, I’ll Be Gone in the Dark is one of the best true crime docu-series in a while and it’s up against stiff competition.” – Rosie Fletcher, Den of Geek
“I’ll Be Gone in the Dark can be very difficult to watch; it’s haunting and incredibly sad. But that’s also what made it all the more moving, in the end, to see the survivors join together: bonding, smiling, and living their lives in the light.” – Allison Keene, Paste Magazine
SWEET THING, centers on Billie (Lana Rockwell, Little Feet), a 15-year-old girl who fantasizes Billie Holiday as a sort of fairy godmother. Billie has to navigate the evolving challenges of her life while she plays mother to her 11-year-old brother, Nico. They meet up with another adolescent, run away from home, and together roam the area free from their parents’ watchful eye. They discover freedom and enchantment among New Bedford’s boats and railway tracks. They fantasize about a life of luxury when they break into a posh home, and are able to carry the taste of affluence into their adventures. SWEET THING celebrates their ability to make poetry and a joyful life out of hardship. The children come to represent a hope in our own resilience, as the film is an ode to that trying age when young people prepare to take their first step into adulthood. The story is an intense but ultimately uplifting, poetic rendering of childhood that captures the essence of that time in life when a day can last forever. SWEET THING, stars Rockwell’s children Lana and Nico, Karyn Parsons and Will Patton, Director and writer Alexandre Rockwell (In the Soup, Louis & Frank, 13 Moons) joins us for a conversation on his working with a superb cast that includes Lana and Nico Rockwell, Karyn Parsons and Will Patton, re-discovering a love for instinctive filmmaking and his embrace of storytelling that celebrates fearless youth, friendships, and family.
SWEET THING winner of the Berlinale Crystal Bear in the Generation K-plus section in 2020.
About the filmmaker – Rockwell managed to establish himself by the early 1980s. He already had several short films under his belt and his work was shown at Boston’s Institute for Contemporary Art and New York City’s Association of Independent Video and Film. This led to him landing his first feature film, Lenz which was shown at the 1982 Berlin Film Festival and enjoyed success. Rockwell followed up with the release of Hero, which won a Special Jury Prize at the 1984 Sundance Film Festival. In 1986, he married Yale graduate and Flashdance star Jennifer Beals. He didn’t make any films until Sons. Praise rained on Rockwell at The Sundance Film Festival when he released In the Soup. The movie featured Steve Buscemi, Seymour Cassel and Jennifer Beals. Rockwell’s next film Somebody to Love was less successful, though the omnibus movie Four Rooms was popular, in which Rockwell directed the segment “The Wrong Man”. Rockwell’s marriage to Beals ended in 1996 but they remained close friends. Unfortunately, Rockwell’s next offering, Louis & Frank, reprising two minor characters from In The Soup, flopped with audiences. Rockwell hit his stride again with the release of the successful 13 Moons, a comedy which featured a strong ensemble cast including Steve Buscemi and Karyn Parsons. Rockwell later married Parsons (best known for her work as “Hilary Banks” on The Fresh Prince of Bel-Air) on Valentine’s Day, 2003. After Pete Smalls Is Dead, he made the critically acclaimed Little Feet, starring his two young children, son Nico and daughter Lana, which was entirely funded by a Kickstarter campaign. With this feature, Rockwell continued the form that made him an iconoclast of the independent New York film movement of the nineties. After a break of 7 years, he returned to filmmaking with Sweet Thing, starring his wife Karyn and their two kids, winning the Crystal Bear award at the 2020 Berlin International Film Festival.
“A lively, bittersweet meditation on an impoverished childhood that is still rich in innocence and imagination…. With verve and vitality it pays a dreamy-eyed retrospective debt to films past, and largely due to the beguiling performance from Rockwell’s own daughter Lana, ultimately delivers a moving, tousled journey of discovery….” – Jessica Kiang, Variety
“Rockwell’s film about specific heartbreaking circumstances is accessibly potent in its portrayal of childhood and memory. He taps into the experience of complex emotions – fear mixed with hope, love entangled with heartbreak, and childhood prematurely ripped away – in ways that exemplify the unique potential of cinema.” – Mary-Catherine Harvey, The Upcoming
“Gorgeous… stunningly rendered….this is a film that deserves to be seen – Stephen Silver, Goomba Stomp
“The windswept, wild-maned ‘Sweet Thing’ boasts beautiful performances and a definite throwback charm.” – VARIETY
“The first paces of ‘Sweet Thing’ feel as they are taken from Charlie Chaplin’s ‘The Kid’. By iris-in, iris-out, long shot cuts into close-ups, the director Alexander Rockwell conveys a really fresh and intimate nostalgia.” – FILMFESTIVALS
“Sweet Thing is also stunningly rendered. All three kid actors are incredibly talented, and the film makes very strong use of music, which includes multiple examples of Lana Rockwell’s fine singing.” – Goomba Stomp
Zaida Bergroth’s enthralling new film, TOVE begins in Helsinki, 1945.The end of the war brings a new sense of artistic and social freedom for painter Tove Jansson. Modern art, dizzying parties and an open relationship with a married politician: Her unconventional life puts her at odds with her sculptor father’s strict ideals. Tove’s desire for liberty is put to the test when she meets theatre director Vivica Bandler. Her love for Vivica is electric and all-consuming but Tove begins to realize that the love she truly yearns has to be reciprocated. As she struggles with her personal life, her creative endeavors take her in an unexpected direction. While focusing her artistic dreams on her painting, the work that started as a side project, the melancholic, haunting tales she told scared children in bomb shelters, rapidly takes on a life of its own. The exploits of the Moomins, infused with inspiration from her own life, bring Tove international fame and financial freedom. There’s a daily comic strip, syndicated all over the world to 120 newspapers in 40 countries, a stage play and stories that continue to delight people around the world. But as she begins to find her artistic identity she has to learn to find herself. Her unrequited love for Vivica is preventing her true liberty and only by learning to break away from her can she truly be free. Director Zaida Bergroth joins us for an engaging conversation on humanizing the creative journey of an internationally recognized artistic talent and a woman energized by her personal search for freedom, identity and desire.
Finland’s entry – Best International Feature Film for the 2021 Academy Awards
Director’s Statement– Tove Jansson – the ”Moominmamma”, the one that everybody knows, the one put on a pedestal. My impression of her has been this gray haired, wise, unnaturally calm and somehow untouchable human being. The more I have got to know her through the research and preparation, I have made for this film about her life, the more surprised I’ve become – this film will be anything but calm and predictable. Tove’s passion and energy, her strong emotions and how she expressed them and the fact that she was so unconventional; those were the things that surprised me the most. TOVE struggled with serious issues; she was aware of having a predisposition for depression, her relation to her father was complicated and the strenuous intimate relationships left their marks, but her positivity and her ability to always take other people into consideration and really understand them combined with how she looked for and appreciated light and joy, gives me inspiration and hope. These aspects I have wanted to include in the film about Tove. I wanted to depict Tove closely and sensitively and show as many surprising sides of her as possible, so that the audience understands how passionate and wild she was, how much she loved parties and love itself. TOVE tells about Tove’s life while celebrating courage and independence. With TOVE I once again deal with the same themes and characters that excite me, but this time around I especially enjoy Tove’s inspiring, rambunctious and positive company. Even though the events in her life were sometimes both painful and overwhelming, Tove kept her beautiful outlook on the world and the people in it. It is very comforting that such a wise and understanding person has lived such a wild and uncompromising life. I’m also excited to use my own knowledge in depicting Tove’s life: I’ve lived my childhood surrounded by artists – my mother is a painter and I’ve spent endless hours in her studio. I find it very exciting – and most of all important – to tell this story of an enormously talented and inspiring female artist who continues to have a huge impact on people all around the world.
About the director – Zaida Bergroth (born 1977) is a Finnish film screenwriter-director. Bergroth’s previous films (Maria ́s Paradise, Miami, The Good Son, Last Cowboy Standing) have been screened at festivals including TIFF and have received awards at the Busan International Film Festival, at the Chicago International Film Festival and many others. TOVE is her fifth feature film as a director.
“Though narratively simple, it’s a dazzling piece of work which perfectly captures the essence of the artist and both the necessity and cost of authenticity.” – Jennie Kermode, Eye for Film
“Biopics are a dime a dozen these days with many often featuring the usual cliched rise- and-fall scenario. But with Tove, director Zaida Bergroth is lucky enough to focus on a uniquely alluring Finnish sketcher.” – Susan Wloszczyna, AWFJ Women on Film
“TOVE dispatched me down a rabbit hole, or through a Moomin Door. I recommend the trip. – Anthony Lane, New Yorker
“A story that could have quickly succumbed to common themes about the dreams that are lost with age is instead a bitter-sweet celebration of a life, though imperfect, still lived to its fullest and with learned lessons accompanying regrets.” – Meghan White, AwardsWatch
“If anyone were expecting this to be about Moomins, they would be very disappointed, but if you were expecting a painful love story and struggle of an artist finding herself, this is the story for you.” – Katie Hogan, FILMHOUNDS Magazine
The DREAM HORSE tells the inspiring true story of Dream Alliance, an unlikely race horse bred by small town Welsh bartender, Jan Vokes (Academy Award® nominee Toni Collette). With very little money and no experience, Jan convinces her neighbors to chip in their meager earnings to help raise Dream Alliance in the hopes he can compete with the racing elites. The group’s investment pays off as Dream rises through the ranks with grit and determination and goes on to race in the Welsh Grand National showing the heart of a true champion. Director Euros Lyn joins us for a conversation on the attraction that horses and horse racing’s has for filmmakers and film lovers, the superb cast of outstanding performances led by Toni Collette and Damian Lewis and the importance of establishing an upbeat and winning vibes that imbues every frame of DREAM HORSE.
About the filmmaker – Euros Lyn studied drama at Manchester University and worked as an assistant director before directing the multi-BAFTA winning rebooted Doctor Who, including the Hugo award winning The Girl In The Fireplace. He has won BAFTA Cymru Best Director several times, most recently for Kiri with Sarah Lancashire. Euros directed Fifteen Million Merits, part of the Black Mirror anthology for C4 which won an International Emmy for Best Drama Series. He directed three episodes of the opening season of Broadchurch, two seasons of Last Tango in Halifax, the pilot episode of Happy Valley and the single drama Damilola, Our Loved Boy, all four shows winning BAFTA awards. In 2015 he was the recipient of Bafta Cymru’s Sian Phillips award. The Library Suicides, a Welsh language thriller for BFI/ Film Cymru Wales/S4C/BBC Films/ Soda Pictures was released in theatres in August 2016. He directed an episode of His Dark Materials for BBC/HBO and Dream Horse, a feature film starring Toni Collette, Damian Lewis and Owen Teale for Film4/Warner Bros/Bleecker Street premiered at the Sundance Film Festival in 2020 and is slated for theatrical release in 2021. He is currently working on an adaptation of Alice Oseman’s Heartstopper for Netflix/SeeSaw. For more go to: euroslyn.com
“Dream Horse’s careful navigation of the predictable is undoubtedly helped by its top-drawer cast and sparky dialogue, but it also does well at building tension throughout key race scenes.” – Tori Brazier, One Room With A View
“Like horseracing, filmmaking is a high-risk gamblers’ game, but the team behind Dream Horse, the resulting dramatization of the Vokes’ story, have surely bred a winner with this endearing, determinedly crowd-pleasing adaptation.” – Leslie Felperin, Hollywood Reporter
Suzanne (Suzanne Lindon) is sixteen. She is bored with people her own age. From the outside, everything appears lovely in her charmed world, but the everyday monotony of school and her relationships with friends and family feels completely uninspired. Every day on her way to high school, she passes a theater. There, she meets a 35-year-old actor named Raphaël (Arnaud Valois, BPM (Beats Per Minute). Despite their age difference they find in each other an answer to their ennui and develop a strong connection. Immersed in the world of grown-ups and adult choices, Suzanne begins questioning the pitfalls of blossoming too quickly and missing out on life – the life of a 16-year-old, which she had struggled so much to enjoy in the same way as her peers. SPRING BLOSSOM is a masterful and refreshing tale, filled with freewheeling musical numbers, of young teen’s sense of curiosity and wonderment at first-love. Director, writer and lead actor Suzanne Lindon joins us for a conversation on the personal story behind the story of SPRING BLOSSOM, the passion and confidence that propelled this project from diary to distribution and what was going through her mind on the first day the 19 year-old Suzanne step on to the set to direct her debut feature film.
About the filmmaker – Suzanne Lindon is 20 years old and was born IN April 2000 in Paris. At 15, she enrolled at the prestigious French high school Henri IV, and at the same time began writing SPRING BLOSSOM. Suzanne graduated high school with honors in 2018, and decided to take a one year preparatory course in sketching before joining l’Ecole Nationale Supérieure des Arts Décoratifs of Paris. It’s in 2019, the summer of her 19th birthday, that she decided to dive into preparation for her first feature film as both director and lead actress.
“Still just twenty when she directed and starred in the film, Lindon creates a portrait of first love which is fresh, honest and engaging.” – Wendy Ide, Screen International
“Writer-director Suzanne Lindon’s … dazzling directorial debut once again proves that there’s nothing more romantic than Parisian cafés and sun-bleached boulevards.” – Andrew Murray, The Upcoming
“It’s an extremely accomplished introduction from its young director-star, with Lindon delivering a beguiling take on first love that casually casts off the weight of judgement.” – Emma Simmonds, The List
“Spring Blossom is a light, frothy and charming drama from writer/director Suzanne Lindon, who shows great potential in becoming a formidable director in the future. Recommended.” – Harris Dang, The AU Review
In Stephen Maxwell Johnson’s powerful new film, High Ground, a young indigenous man, Gutjuk, teams up with a World War I soldier / ex-sniper, Travis, to track down the dangerous Bayawara, a fierce warrior in the Territory, who is also his uncle. As Travis and Gutjuk journey through the outback they begin to earn each other’s trust, but when the truths of Travis’ past actions are suddenly revealed, it is he who becomes the hunted. High Ground was conceived as a story that would challenge accepted notions of the colonial settlement of Australia. High Ground is a powerful human drama, instilled with a strong sense of hope and fear, a story of treachery, heroism, sacrifice, freedom and love, misguided beliefs, an unequal struggle for power, and grief. But above all it is a story about the finding of one’s roots. Director Stephen Maxwell Johnson joins us for a conversation on the shameful treatment the indigenous peoples of Australia have suffered under, the denial of that history and why it was so important that High Ground reflect the human drama, instilled with a strong sense of hope and fear, but above all a story about the finding of one’s roots.
Director’s Statement – At the heart of High Ground is the tragic story of Frontier encounters and the missed opportunity between two cultures, black and white. High Ground was conceived as a story that would challenge accepted notions of the settlement of Australia. Faced with the myth of terra nullius the aim with the film is to create a new mythology and present a different perspective on how this country was made. It explores the themes of identity and culture and the attempts that were made to preserve and progress culture in the face of an overwhelming threat. High Ground is a story with mythic proportions with complexity and no easy answers. This story presents a view that there really is no such thing as settlement it’s all about conquest, it explores the way in which society is built and how connections are made between people and it exposes the shameful truth of our frontier history but rather than choosing to dramatize a specific historical event ‘High Ground’ draws on contact history from a variety of locations – a fiction to illustrate a deeper truth. High Ground is a powerful human drama, instilled with a strong sense of hope and fear, a story of treachery, heroism, sacrifice, freedom and love, misguided beliefs, an unequal struggle for power, and grief. But above all it is a story about the finding of one’s roots. My aim has been to entertain and immerse an audience in an environment teeming with unexpected threats, and to take them on a ride through an aspect of our history that is under-represented and hopefully encourage them to rethink the Australian story.
About the filmmaker – Stephen Maxwell Johnson grew up in the Bahamas, Africa and the Northern Territory of Australia. He began his film and television career at Channel 9 as a trainee cameraman and has worked on mainstream drama, news and current affairs shows. He attended acting school in London and then headed back to the Northern Territory intent on making his first movie. Stephen established a production house and narrow cast television station in Darwin and directed, produced and photographed drama, documentaries, television commercials, animation, corporate films and rock clips all over the Northern Territory, Australia and many remote Indigenous communities. Stephens work include his multi award winning rock clips for the band Yothu Yindi including ‘Treaty’ an AFI award for best Children’s drama ‘Out There’, an AFI nomination for best direction in television and his first movie which he directed, executive produced and script edited ‘Yolngu Boy’. Stephen has recently completed his second feature film ‘High Ground’ which has been 20 years in the making. High Ground premiered at the at the Berlin International Film Festival in 2020 and will be released in cinemas 2021.
“Australian storytelling that packs a punch and pushes you to think deeply about the history of this country, High Ground captures the raw beauty of Arnhem Land as it does the brutality of colonialism.” Wenlei Ma, News.com.au
“More intimate than epic, but gorgeous, stately and tense, it captures a last burst of tit-for-tat reprisals in a country starting to face its genocidal past and racist present.” – Roger Moore, Movie Nation
“…High Ground is an overwhelming achievement of cinematic brilliance. It continues the legacy of Sweet Country by exposing the horrifying actions of White Australians…” – Andrew F. Peirce, The Curb
“High Ground is a deceptively simple story about the lingering consequences of revenge through racism taken to heights of excellence due to beautiful vistas, top representation of Aboriginal culture and its brutal depiction of violence.” – Harris Dang, The AU Review
“In the magnetic Nayinggul, superb as the boy on the brink of manhood who must choose whether to reject anger or embrace it, the film showcases a notable new talent.” – Wendy Ide, Screen International
Emily @ the Edge of Chaos interweaves Emily Levine’s live performance with animation, appearances by scientists, and animated characters (John Lithgow as Sir Isaac Newton, Lily Tomlin as Ayn Rand, Leonard Nimoy as Sigmund Freud, Richard Lewis as Aristotle, Matt Groening as Aldo Leopold). Emily @ the Edge of Chaos uses physics, which explains how the universe works, to explain our metaphysics – the story of our values, our institutions, our interactions. Using her own experience and a custom blend of insight and humor, provocation and inspiration, personal story and social commentary, Emily takes her audience through its own paradigm shift: from the Fear of Change to the EDGE OF CHAOS!Emily Levine, like her film, was one-of-a-kind. She was a television writer and producer (Designing Women, Love & War and Dangerous Minds), a stand-up performer, and an out-of-the box-thinker, whose brilliant TED Talks have been watched by millions. She made this film with Wendy Apple, who produced and directed it.Wendy died in 2017 and Emily continued working on the film until she also passed away in 2019. Executive Producer Thea Kerman joins us to talk about how her friend and colleague, Emily Levine, poured her heart and should into making this film before cancer took her, and how the unexpected death of the director Wendy Apple played into Thea stepping in to guide the film to completion and distribution.
About Emily Levine – Emily graduated cum laude from Harvard, intent on pursuing a career as an Oracle. Unable to find a good Oracle agent, she settled for a career as a stand-up comedian, headlining in comedy clubs and making television appearances on shows such as David Letterman’s Late Night. The LA Times called her “a stand-out as a stand-up.” Newsweek called her “one of the new queens of comedy.” Her mother called her every week. Later, as a television writer and producer, Emily worked on shows such as Designing Women, Love and War and Dangerous Minds. She created and produced pilots for new situation comedies for CBS, NBC, ABC and HBO. In the 90’s, Emily’s career began to suffer as an undiagnosed tumor in her pituitary gland began to wreak havoc. Lacking an explanation for the weird array of symptoms, including brain fog, osteoarthritis, and a curious lack of interest in consumer-driven activity, she could only believe she was going crazy. The relief that accompanied the eventual diagnosis in 2007 – the fact that there was an actual real reason for her decline – led Emily to fall in love with fact-based reality, aka science. Her movie, “Emily @ the Edge of Chaos,” details this journey, using humor, animations, and guest stars to inspire the country with that same love of fact-based reality. Emily was diagnosed with stage IV lung cancer in 2018 and started a blog, “The Yoy of Dying,” that takes it all on. Emily died on February 3, 2019, but Emily’s daughter Abby continues working to release “Emily @ the Edge of Chaos.” You can subscribe to Emily’s Universe and continue to follow Emily’s accounts on Twitter, Facebook, and Instagram to stay up-to-date. For more about Emily go to: emilysuniverse.com
About the filmmaker – Thea Kerman, Executive Producer, has over 30 years of experience as an entertainment lawyer. She has provided legal services for narrative films such as Donnie Brasco, The Fisher King, Hook, Hairspray, Warriors of Virtue, Bats and Black Dynamite, documentary films such as The Cutting Edge: The Magic of Film Editing and Queen of Hearts: Audrey Flack and worked with clients and talent such as Akiro Kurasawa, Barry Levinson, Sidney Lumet, Bruce Willis, Richard Gere, Al Pacino, Whitney Houston and Kiss. Prior to establishing her own law firm in 1990 in Los Angeles, Ms. Kerman was the Senior Production Counsel for Tri-Star Pictures and served as General Counsel for the Marvel Comics Group.. She was a co-producer on Dukhtar, a U.S./Pakistani/Norwegian/Indian narrative co-production which had its world premiere at the Toronto Film Festival and was the official Pakistani nominee for Best Foreign Language Film at the 87th annual Academy Awards. She was an executive producer of Doctors of the Dark Side, a feature length documentary, and co-producer of Yellow Rose, an American-Fillipino musical drama.
The latest caper / drama / comedy from director Paul Tanter STEALING CHAPLIN was inspired by a surreal plot that took place over 40 years ago. Two Las Vegas based con men decided to dig up and steal the corpse of the legendary silent-era comedian Charlie Chaplin in order to ransom it. The bizarre plot grabs the attention of the nation and sets in motion an escalating reward offer by the family. Before long every local lowlife, criminal and dirty cop is looking to cash in on the easy money. STEALING CHAPLIN is driven forward by a slew of quirky but captivating performances that includes the film’s co-writers Simon Phillips (Age of the Living Dead, No Easy Days), Doug Phillips (Not All Who Wander, Butchers) and producer Ken Bressers (The Nights Before Christmas, Not All Who Wander). The prolific British director Paul Tanter (The Nights Before Christmas, Dystopia, and Kill Ratio) joins us to talk about the inspiration for the film, finding the right tone for a multi-genre story and the lightning fast pace he and his crew worked at to make STEALING CHAPLIN.
Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
TCM UNDERGROUND – Tune in every Friday night for TCM Underground, our late-night movie franchise that showcases the best of classic cult favorites and hard-to-find films, from experimental shorts to off-beat comedies. For more discussions around the wild, weird world of cult films and films shown on TCM Underground, check out our web series TCM Slumberground on YouTube!
TCM SLUMBERGROUND is the official monthly pre-show for TCM Underground, a late-night cult movie franchise that airs at 2:00 am EST on Friday nights on Turner Classic Movies. In each episode, TCM Underground programmer Millie De Chirico sits down with a panel of her fellow TCM employees to discuss the upcoming double feature and other cult movie topics.
Other Midnight Films at past TCM Classic Film Festivals include: Boom!, Duck Soup, Eraserhead, Freaks, Gog, Island of Lost Souls, Kentucky Fried Movie, Night of the Living Dead, Nothing Lasts Forever, Phase IV, Roar, Santo vs. The Evil Brain,The Bride of Frankenstein, The Day of the Triffids, The Mummy, The Student Nurses, The Tingler, The World’s Greatest Sinner and Zardoz.
In the late 1960s, in the aftermath of the Watts Uprising and against the backdrop of the continuing Civil Rights Movement and the escalating Vietnam War, a group of African and African-American students entered the UCLA School of Theater, Film and Television, as part of an Ethno-Communications initiative designed to be responsive to communities of color (also including Asian, Chicano and Native American communities). Now referred to as the “L.A. Rebellion,” these mostly unheralded artists created a unique cinematic landscape, as—over the course of two decades—students arrived, mentored one another and passed the torch to the next group. Beyond the films themselves, what makes the L.A. Rebellion movement a discovery worthy of a place in film history is the vitality of its filmmakers, their utopian vision of a better society, their sensitivity to children and gender issues, their willingness to question any and all received wisdom, their identification with the liberation movements in the Third World, and their expression of Black pride and dignity. As part of the 2021 TCM (Turner Classic Movies) Film Festival is spotlighting two of the L.A. Rebellion’s leading lights, Charles Burnett and Billy Woodberry in the festival’s Special Collections section. Charles Burnett and Billy Woodberry join us for a conversation on their recollections the birth of the L.A. Rebellion and the inspiration for their life altering decision to become filmmakers.
About the filmmaker – Charles Burnett is a writer-director whose work has received extensive honors. Born in Vicksburg, Mississippi, his family soon moved to the Watts neighborhood of Los Angeles. Burnett studied creative writing at UCLA before entering the University’s graduate film program. His thesis project, Killer of Sheep (1977), won accolades at film festivals and a critical devotion; in 1990, it was among the first titles named to the Library of Congress’ National Film Registry. European financing allowed Burnett to shoot his second feature, My Brother’s Wedding (1983), but a rushed debut prevented the filmmaker from completing his final cut until 2007. In 1988, Burnett was awarded the prestigious John D. and Catherine T. MacArthur (“genius grant”) Fellowship and shortly thereafter Burnett became the first African American recipient of the National Society of Film Critics’ best screenplay award, for To Sleep withAnger (1990). Burnett made the highly acclaimed “Nightjohn” in 1996 for the Disney Channel; his subsequent television works include “Oprah Winfrey Presents: The Wedding” (1998), “Selma, Lord, Selma” (1999), an episode of the seven-part series “Martin Scorsese Presents The Blues” (2003) and “Nat Turner: A Troublesome Property” (2003), which was shown on the PBS series “Independent Lens.” Burnett has been awarded grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts and the J. P. Getty Foundation. In 2011, the Museum of Modern Art showcased his work with a month-long retrospective.
To Sleep with Anger – Writer and Director Charles Burnett – A slow-burning masterwork of the early 1990s, this third feature by Charles Burnett is a singular piece of American mythmaking. In a towering performance, Danny Glover plays the enigmatic southern drifter Harry, a devilish charmer who turns up out of the blue on the South Central Los Angeles doorstep of his old friends. In short order, Harry’s presence seems to cast a chaotic spell on what appeared to be a peaceful household, exposing smoldering tensions between parents and children, tradition and change, virtue and temptation. Interweaving evocative strains of gospel and blues with rich, poetic-realist images, To Sleep with Anger is a sublimely stirring film from an autonomous artistic sensibility, a portrait of family resilience steeped in the traditions of African American mysticism and folklore.
About the filmmaker – Billy Woodberry Born in Dallas in 1950, Billy Woodberry is one of the founders of the L.A. Rebellion film movement. His first feature film Bless Their Little Hearts (1983) is a pioneer and essential work of this movement, influenced by Italian neo-realism and the work of Third Cinema filmmakers. The film was awarded with an OCIC and Interfilm awards at the Berlin International Film Festival and was added to the National Film Registry of the Library of Congress in 2013. His latest feature film And when I die, I won’t stay dead (2015) about the beat poet Bob Kaufman was the opening film of MoMA’s Doc Fortnight in 2016. Woodberry has appeared in Charles Burnett’s “When It Rains” (1995) and provided narration for Thom Andersen’s Red HOLLYWOOD” (1996) and James Benning’s “Four Corners”(1998). His work has been screened at Cannes and Berlin Film Festivals, the Museum of Modern Art (MoMA), Harvard Film Archive, Camera Austria Symposium, Human Rights Watch Film Festival, Tate Modern and Centre Pompidou. He received his MFA degree from UCLA in 1982 where he also taught at the School of Theater, Film and Television. Since 1989 Billy Woodberry is a faculty member of the School of Film/Video and the School of Art at the California Institute of the Arts.
Bless Their Little Hearts – Director / Producer / Editor Billy Woodberry – A key masterpiece of the L.A Rebellion, Bless Their Little Hearts distills the social concerns and aesthetics of that trailblazing movement in African American cinema. Billy Woodberry’s film showcases his attentive eye, sensitivity to the nuances of community and family, and the power of the blues. Searching for steady work, Charlie Banks (Nate Hardman) views his chronic unemployment as a kind of spiritual trial. But day work and selling a few catfish can’t sustain a family of five. While his wife, Andais (Kaycee Moore), works to support them with dignity, Charlie finds comfort for his wounded sense of manhood in an affair that threatens his marriage and family.At the heart of this devastatingly beautiful film is the couple’s agonizing confrontation – shot in one continuous ten-minute take – that ranks as “one of the great domestic cataclysms of modern movies.” (Richard Brody, The New Yorker) Named to the National Film Registry, Bless Their Little Hearts features contributions by two iconic American artists: Charles Burnett (Killer of Sheep, To Sleep With Anger), who wrote and shot the film, and Kaycee Moore (Daughters of the Dust), whose powerful performance as Andais Banks remains a revelation. Film restoration by Ross Lipman with Billy Woodberry at UCLA Film & Television Archive. 2K Digital restoration by Re-Kino, Warsaw. English captions and Spanish subtitles.
Turner Classic Movies (TCM)is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
Produced and directed by filmmaker Bill Morrison, “let me come in” features a new song by Pulitzer Prize-winning composer David Lang performed by soprano Angel Blue, one of opera’s brightest stars. The short film incorporates rediscovered (and heavily damaged) footage from the lost 1928 silent film Pawns of Passion to astonishing effect. Filmmaker Bill Morrison, director of the highly acclaimed films Decasia and Dawson City: Frozen Time, has long been fascinated with ancient, decayed nitrate film stock from long-forgotten films—what he describes as “goopy, sticky films deemed not worth saving.” For “let me come in,” he has resurrected footage from what may be the last surviving reels of the 1928 German silent romance Pawns of Passion, discovered in a Pennsylvania barn in 2012. After decades of expanding in hot summers and contracting in freezing winters, the deteriorated nitrate film stock now reveals, in Morrison’s words, “imagery that seems to be pulled from a state of semi-consciousness, asleep but dreaming.” Morrison describes Lang’s song as “a rumination on love and the borderline separating two souls, seemingly from the precipice of consciousness. When I heard Angel Blue’s incredible interpretation, my mind immediately recalled the ambiguous tension in this scene from Pawns of Passion.Left to rot in a barn, and then scanned and archived again for another eight years on my own personal hard drive, it has found a new life through David’s words and music, and Angel Blue’s voice. It was very exciting to see how quickly it came together and how perfectly the image, words and sound meshed.” Director Bill Morrison joins us for conversation on his inspired interpretation of hauntingly beautiful film fragments.
About the filmmaker – Bill Morrison makes films that reframe long-forgotten moving images. His films have premiered at the New York, Rotterdam, Sundance, and Venice film festivals. In 2014 Morrison had a mid-career retrospective at MoMA. His found footage opus Decasia (2002) was the first film of the 21st century to be selected to the Library of Congress’ National Film Registry. The Great Flood (2013),was recognized with the Smithsonian Ingenuity Award of 2014 for historical scholarship. Dawson City: Frozen Time (2016) was included on over 100 critics’ lists of the best films of the year, and on numerous lists ranking the best films of the decade, including those of the Associated Press, Los Angeles Times and Vanity Fair. His work has previously been seen at LA Opera in productions of David Lang’s “anatomy theater” (2016) and David T. Little’s Soldier Songs (2019). Co-presented by Los Angeles Opera with composer David Lang and soprano Angel Blue. Special thanks to the Library of Congress National Audio-Visual Conservation Center. For more go to: billmorrisonfilm.com/bio-filmography
STREET GANG: HOW WE GOT TO SESAME STREET takes audiences inside the minds and hearts of the “Sesame Street” creators, artists, writers, and educators who together established one of the most influential and enduring children’s programs in television history. Inspired by the activism of the late 1960s, socially conscious television executive Joan Ganz Cooney and Sesame Workshop co-founder Lloyd Morrisett conducted a revolutionary experiment: to harness the burgeoning power of television and create an educational, impactful, uplifting and entertaining show that could reach children nationwide, especially those living in urban areas. Cooney recruited trailblazing Muppets creator Jim Henson and acclaimed children’s television writer and director Jon Stone to craft the iconic and beloved world of “Sesame Street.”STREET GANG: HOW WE GOT TO SESAME STREET reintroduces this visionary “gang” of mission-driven artists, writers, and educators that audaciously interpreted radical changes in society and created one of most impactful television programs in history. With more than 20 interviews with original writers, cast, and crew, and never-before-seen behind the scenes footage, STREET GANG is told from the inside with humor and emotion, weaving together personal narratives and eyewitness accounts. The film explores the original mission of the “gang” that created this cultural phenomenon, now spanning 50-plus years and reaching more than 150 countries. Director Marilyn Agrelo joins us to talk about the enduring legacy of SESAME STREET as well as the beautifully disruptive and groundbreaking approach to connecting with children and in doing so made them into collaborators and the beneficiaries of this illuminating enterprise.
“Street Gang is a wonderful documentary that would play extraordinarily well whenever it was released, but in this present moment? It feels positively miraculous; a much-needed happy-sad warm blanket indeed.” – Shaun Munro, Flickering Myth
“It’s hard to ask for much more than a doc that captures creatives thoughtfully sneaking the civil revolution as well as basic education into children’s TV and includes a Muppets blooper reel.” – Chris Willman, Variety
“It’s genuinely, enormously inspirational to watch this ragtag band of beatniks and beardos turning sinister Madison Avenue techniques into instruments of learning.” – Sean Burns, Spliced Personality
“Carries tremendous power as an emotional reminder of such a triumphant run, also working beautifully as a reunion with old faces and as an introduction to key behind-the-scenes figures helping to bring inclusion to the masses.” – Brian Orndorf, BrianOrndorf.com
“Street Gang is a loving, emotional tribute to a global brand that tackled racism, education and more with puppets, music through a street that everyone wanted to live on – Sesame Street…” – Carla Renata, The Curvy Film Critic
As the world searches for a cure to a disastrous virus, a scientist (Joel Fry) and park scout (Ellora Torchia) venture deep in the forest for a routine equipment run. Through the night, their journey becomes a terrifying voyage through the heart of darkness, the forest coming to life around them as nature becomes a force of evil, Director, writer and editor Ben Wheatley (Down Terrace, Kill List, Fields of England) joins us for a conversation on his endlessly compelling pandemic folk tale that is begins with a walk in the woods that drops us into subversively horrifying landscape of screeching trees and bone-crushing vibrations. Golden Globe nominee composer Clint Mansell (The Fountain, Requiem for a Dream, Moon) provides a stunningly propulsive soundtrack to the film.
“It’s damn terrifying, trippy, thoughtfully imaginative in sound design and visual tricks to convey communicating with nature, and packs a savage kick of relatively insane individuals and body horror” – Robert Kojder, Flickering Myth
“The biggest success, however, is the balance of psychedelic mysticism and heady science that are melded with toe-curling scenes of gore and suspense.” – Norman Gidney, Film Threat
“Wheatley is firing on all cylinders with his stripped-down approach to massive topics. An assault on the senses that’s bigger than any blockbuster.” – Kyle Anderson, Nerdist
“In the Earth reminds us that there’s so much more still to fear in the invisible darkness of the natural world — things that our little animal brains can barely grok in all of its terrible splendor.” – Nick Johnston, Vanyaland
“Wheatley and his collaborators have produced something that some of us thought would be impossible: an outrageously entertaining film that feels utterly rooted in the bleak era in which it was made.” – Robbie Collin, Daily Telegraph (UK)
“This is the work of someone who’s always been more in his element when making something out of nothing, and that energy is especially well-served to a story about the fundamental human impulse to do the same.” – David Ehrlich, indieWire
It’s the greatest literary mystery of all time; who wrote the works of Shakespeare Although the official story has held sway for centuries, questions over the authorship of the plays and poems have persisted. Mark Twain, Sigmund Freud, Charlie Chaplin and Orson Welles are among the many famous figures who doubt that a grain-dealer from Stratford-upon-Avon was England’s “Star of Poets.”THE LAST WILL & TESTAMENT will transform the way you look at Shakespeare. Twin sisters & filmmakers Laura Wilson and Lisa Wilson’s intricate historical journey charts the fascinating documentary THE LAST WILL & TESTAMENT from executive producer Roland Emmerich (who’s brilliant “Anonymous” also explores Shakespeare’s identity) and featuring stage and screen icons Derek Jacobi (Gladiator, Gosford Park, Dead Again), Mark Rylance (Bridge of Spies, The BFG, Dunkirk), and Vanessa Redgrave (Atonement, Howards End, Coriolanus). It’s the greatest literary mystery of all time who actually wrote the works of Shakespeare? Featuring a powerful score by Graeme Revell (The Saint, The Crow, Lara Croft: Tomb Raider), the greatest mystery of an identity hidden by time and the constructs of society…The Bard himself. Co-directors Laura Wilson and Lisa Wilson join us for a conversation on their own obsessive dedication concerning the true authorship of Hamlet, Macbeth, Richard III, Taming of the Shrew, and many other fundamental works of Western civilization, as well as, how they were able to enlist the leading lights on this hotly contested topic.
THE LAST WILL & TESTAMENT is available now (April is Shakespeare is international Month) for audiences to stream on Amazon Prime,Vudu,Tubi and other streaming platforms along with across TVOD platforms. iTunes, Fandango Now, Google Play, YouTube, among others globally to rent or buy.
“Laura and Lisa Wilson’s Last Will & Testament is utterly fascinating. Thoroughly investigated, told with flair and authority, the sisters rip the lid off one of the greatest literary puzzles in history. Riveting.” – Anne Brodie, What She Said Canada
Based on the critically acclaimed graphic novel, DAYS OF THE BAGNOLD SUMMER is a funny yet sweet coming-of-age story about single motherhood and Metallica.Daniel (Earl Cave) was supposed to spend the summer with his dad and his dad’s new wife in Florida, but when his dad cancels the trip Daniel and his mom, Sue, (Monica Dolan) suddenly face the prospect of six long weeks together. An epic war of wills ensues in their suburban home as Daniel just wants to listen to heavy metal and start a band while his mom hopes to rekindle the fun times they used to have together. Featuring original songs by Belle and Sebastian. Director Simon Bird joins us for a conversation on his beautifully rendered tale of a sullen, insecure teen and his effervescent single mom doing her best to keep moving forward in a world that is pelting her with cheap shots and exasperating insults.
About the filmmaker – Director Simon Bird’s first short film, Ernestine and Kit, premiered at South By Southwest, and was nominated for Best Short at the Irish Film and Television Awards. Previously, Simon has worked as a stand-up comedian, writer, producer, and actor. As a writer, he created The King Is Dead for the BBC and co-created Chickens for Sky, which was nominated for Best Sitcom at the Broadcast Awards. As a producer, he set up Guilty Party Pictures, a TV and film production company backed by RED and Studiocanal. Guilty Party has produced content for Channel 4, Sky and the BBC, and recently wrapped on How Europe Stole My Mum, an original TV show for Channel 4, to air later this year. As an actor, Simon has starred in five series of Rose D’Or-winning sitcom Friday Night Dinner. The sixth series shoots later this year. He is perhaps best known as Will McKenzie from Channel 4’s BAFTA-winning sitcom THE INBETWEENERS, THE INBETWEENERS MOVIE, which is the highest-grossing comedy film ever in the UK, and THE INBETWEENERS 2, which had the highest-grossing opening weekend of any film in the UK in 2014. Simon has won multiple British Comedy Awards and been nominated for a BAFTA and Royal Television Society award for acting.
“Far closer in spirit to the lighter works of Mike Leigh than the broader material that made him a well known figure in British comedy, Bird’s debut is innately humanistic, with cross-generational appeal.” – Alistair Ryder, Film Inquiry
A GLITCH IN THE MATRIX ask the question, what if we are living in a simulation, andthe world as we know it is not real? To tackle this mind-bending idea, acclaimed filmmaker Rodney Ascher (ROOM 237, THE NIGHTMARE) uses a noted speech from Philip K. Dick to dive down the rabbit hole of science, philosophy, and conspiracy theory. Leaving no stone unturned in exploring the unprovable, the film uses contemporary cultural touchstones like THE MATRIX, interviews with real people shrouded in digital avatars, and a wide array of voices, expert and amateur alike. If simulation theory is not science fiction but fact, and life is a video game being played by some unknowable entity, then who are we, really? A GLITCH IN THE MATRIX attempts to find out. The film introduces us to a handful of real-world testifiers who are certain that their bodies and minds are being operated by some external game-player. Ascher, as ever an inviting, curious questioner (never one who mocks), brings a wealth of cultural and intellectual context to his latest exploration, from the videotaped musings of paranoid sci-fi giant Philip K. Dick to clips of Keanu Reeves in The Matrix and a host of bespoke animated re-creations that give eerie credence to the most outré of notions. Director Rodney Ascher joins us to talk about his paranoia-inducing, exhilarating and definitive introduction to a subject that, subscribe to it or not, involves us all.
About the filmmaker – RODNEY ASCHER (Director, Editor, and Executive Producer) RODNEY ASCHER is a filmmaker known for creating documentaries that explore the subjective experience, freely appropriating the vocabularies of genre, experimental, and found-footage films along the way. His first feature, 2012’s ROOM 237 looked at The Shining through the eyes of five very different people. He visualized their wildly different interpretations of Kubrick’s classic by juxtaposing excerpts of the film with everything from Murnau’s Faust to the cover of the January 1978 issue of Playgirl magazine creating a trip down the rabbit hole. His follow up, THE NIGHTMARE was called “The Scariest Movie of the decade.” Creatively, the film completely changed tactics from Room 237’s archival-driven montage. To visualize real people’s seemingly supernatural experiences during bouts of ‘sleep paralysis’ his team filmed interviews at night in the subjects’ own bedrooms and created stylized re-enactments inspired by the interviewees’ drawings and his own personal memories of a visitation by a ‘shadowman.’ Like Room 237, it premiered at Sundance before traveling around the world including an Imax screening in Moscow. A GLITCH IN THE MATRIX is his most ambitious film yet, using multiple styles of 3D animation to illustrate the experiences and philosophies of people who suspect the world itself is not quite real.
“A Glitch in the Matrix becomes not about whether we’re living in a simulation but about the many understandable reasons someone may think this. In effect, it winds up being about the mysteries of the human experience.” – Bilge Ebiri, New York Magazine/Vulture
“’A Glitch in the Matrix’ goes for the head by way of the heart, or maybe vice versa. Superb and startling, breathtaking and compassionate.” – Bill Arceneaux, Of Those Who
“A compellingly out-there look at the possibility that we’re all avatars in a game we can’t comprehend.” – Nick Schager, The Daily Beast
“Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.” – Chris Barsanti, The Playlist
“While Ascher casts a wide net, “A Glitch in the Matrix” works quite well as an overview of the various epistemological questions it raises.” – Eric Kohn, indieWire
The animated short film based on her own childhood experience in Wuhan China, WINDUP, tells the story of a father trying to stay connected with his unconscious daughter through music. He plays a windup music box and hopes she can hear it while fighting with his own emotions to stay strong. Meanwhile, his daughter follows the melody in her dreams and looks for a way back. WINDUPis a nine-minute animated short written and directed by an emergingfemale Chinese filmmaker Yibing Jiang, and Animation DirectorJason Keane. Keanehas a long family legacy in animation, which includes, his grandfather Bill Keane (Family Circus comics) and his uncles Jeff Keane; and Glenn Keane,(The Little Mermaid, Beauty and the Beast, Aladdin, Pocahontas, Tarzan, and Tangled). WINDUP was also a collaboration with artists working remotely from around the world, created in real-time with Unity. At a time when we are feeling isolated, craving connection and preoccupied with the health and well-being of loved ones, the theme of the film is an uplifting and universal one that highlights the fragile nature of life, love, resiliency and the healing power of music, told through the eyes of a father and the special bond he shares with his ailing young daughter. Director Yibing Jiang and Artistic Director Jason Keane stop by to talk about their work and vision for this heartwarming and beautiful animated film.
At a time when America is ripping apart at the seams, The REUNITED STATES is a powerful and urgent documentary that follows the unsung heroes on the difficult journey of bridging our political and racial divides. Susan Bro, who lost her daughter when a car drove through a crowd in Charlottesville, and David and Erin Leaverton, a Republican couple who travel to all fifty states in an RV to find out what divides us, are just a few of the characters profiled in the film.Each of these bridge-builders have realized that while our divides run deeper than they ever could have imagined, so does the love and hope to bring our country back together. Based on the book of the same name, REUNITED STATES urges us to consider that everyone has a role to play in reuniting the country. Director Ben Rekhi and film subject Susan Bro join us for a conversation on why so many people are failing to see our shared humanity, how we all can begin to recognize each other as real people and why it is so important that we respecteach other, even if we do not always agree with each other.
“As this election has shown, we’re still a nation deeply divided. What makes ‘The Reunited States’ so powerful is that it shows us what it means to ‘bridge the divide.’” – Van Jones
“When Van brought this film to me, I was so moved by it not just as someone deeply concerned about polarization, but as a mother pondering what kind of country my daughter would grow up in. What I love about this film is that it shows us that no matter where you are on the political spectrum – right, left or center – there is a path forward together.” – Meghan McCain
Susan Bro – Susan D. Bro honors the legacy of her daughter and civil rights activist Heather Heyer by empowering others to make a difference in the world by fighting for equal rights for all. Susan is the mother of Heather Heyer and the co-founder of the Heather Heyer Foundation (HHF). Susan launched the foundation to carry on the legacy of her daughter, Heather, a young a paralegal for the Miller Law Group who had a love for all individuals regardless of race, religion or creed. Heather was slain while standing up for social justice with her friends on August 12, 2017 in Charlottesville, VA. The Heather Heyer Foundation is a 501(c)3. Based on her daughter’s motto, “If you’re not outraged, you’re not paying attention,” Susan brings Heather’s legacy alive by sharing a positive, non-violent message and call-to-action that inspires others to fight for social justice and civil rights issues while encouraging dialogue and understanding in our communities.
In the world of Anmaere, north of the city of Whithren, wild horses run through the moorlands and up the coast. These horses are the city’s most valuable export and, as a result, are hunted, trapped, sold, and shipped across the sea once a year. For those in Whithren, this trade passage creates lucrative and exciting possibilities: the chance to escape their constantly sweltering city and escape to the Western continent of Levithen, or simply to begin again. Nothing can prepare audiences for the secrets, seduction, and sights of THE WANTING MARE, an intimate, dramatic fantasy epic written and directed by renowned digital artist Nicholas Ashe Bateman (visual effects supervisor of David Lowery’s upcoming The Green Knight). A technical marvel of digital world-building and independent ambition, the sprawling vistas, fantastical sights, and otherworldly tableaus of THE WANTING MARE were lensed almost entirely inside a warehouse in Paterson, New Jersey. Director, writer, and editor Nicholas Ashe Bateman joins us to talk about the five year journey of making THE WANTING MARE, the defining connection humans and horses share, the support he received from a dedicated group of friends and filmmakers, and the importance of Carl Jung.
THE WANTING MARE was written and directed by Nicholas Ashe Bateman, Executive Produced by Lawrence Inglee, and stars Jordan Monaghan, Yasmin Keshtkar, Edmond Cofie, Nicholas Ashe Bateman, Josh Clark, and Christine Kellogg-Darrin.
January 12-24 2021, Highways, the legendary Los Angeles Performance Space and Gallery presents its Second Annual Film Maudit 2.0 festival showcasing and celebrating new outré, unusual and startling films. The festival will feature over 125 works of cinema from 25 countries including films rarely if ever, seen in festivals: works addressing socio-political issues and taboo subject matter that challenges conventional artistic assumptions and sexual mores.Virtual, online screenings of 18 feature films, 21 shorts programs, specially commissioned programs, and new film scored performed by artists who reflect the diversity of Los Angeles. Included are a range of narrative, documentary and experimental films that are deliberately bold, extreme, confrontational and unusual. Film Maudit 2.0 highlights this year include the U.S. premieres of Feature Films:Mathius Marvellous Shop, a Spanish/German surrealistic satire;Kriya, a magical Indian thriller, and the Los Angeles premieres of Woman of the Photographs; a powerful Japanese film about image and reality for a beautiful model; The Columnist, a darkly comic horror film from The Netherlands; A Dark, Dark Man, the Kazakhstan/France thriller just long-listed for the Golden Globes; and Darkness (Buio)the first feature film by Donatello Award-winning director Emanuela Rossi. Other special programs include a special fundraising screening of erotic art pioneers Annie Sprinkle and Beth Stephens’ Water Makes Us Wet, featuring a live stream Q&A with both; new, original music scores performed live to silent films, and multiple Feature and Shorts Programs that showcase works from 25 countries in 16 uniquely curated categories from ‘Ms. Fear’ to ‘Shattering Form’ – with animated documentaries to experimental works handmade on film; extreme horror to comic surrealism. There is a special focus on works in Film Maudit’s BEHOLD section, which includes NSFW! curated by Planet Queer, Hi Kicks Entrails, curated by performance artist Ironstone, and QLX: the Performance of Queer Latinx.
Film Maudit 2.0 festival is inspired by French avant-garde filmmaker and writer Jean Cocteau who created the original Festival du Film Maudit (literally “cursed films”) in 1949 aiming to celebrate overlooked, shocking and experimental films. Film Maudit 2.0, in its 2nd year, showcases a counter-cinema will blend of narrative, documentary and experimental films that in their style and/or subject matter, are deliberately bold, extreme, confrontational, troubling, shocking and/or unusual. The festival is funded in part by the California Arts Council, Los Angeles County Department of Cultural Affairs and the City of Santa Monica Cultural Affairs CAP Program.
About HIGHWAYS – Film Maudit 2.0 is co-presented by and takes place at Southern California’s boldest center for new performance and media arts, Highways Performance Space & Gallery in Santa Monica, CA. In its 31st year, Highways continues to be an important alternative cultural center in Los Angeles that encourages radical artists from diverse communities to develop and present innovative new works. Described by the Los Angeles Times as “a hub of experimental theater, dance, solo drama and other multimedia performance,” Highways promotes the development of contemporary socially involved artists and art forms. Under the helm of Executive Director, Leo Garcia, Highways has received funding and support from organizations such as the The James Irvine Foundation, Metabolic Studio, California Community Foundation, Liberty Hill Foundation, The Warhol Foundation, National Endowment for the Arts, and The Roy Cockrum Foundation. Leo Garcia is an award-winning playwright, filmmaker, visual artist and actor who has produced over 800 performance works as Artistic Director-turned-Executive Director of Highways since 2003. highwaysperformance.org
The Netflix limited docu-series Night Stalker: The Hunt for a Serial Killer tells the spellbinding true story of how one of the most notorious serial killers in American history was hunted down and brought to justice. In the sweltering summer of 1985, a record-breaking heatwave hit Los Angeles, along with a series of murders and sexual assaults that at first seemed disconnected. The victims were men, women, and children. They ranged in age from six to 82, coming came from different neighborhoods, racial backgrounds and socioeconomic levels. Never before in criminal history had a single killer been responsible for such a grisly array of crimes. Racing against the clock to stop this nocturnal monster were a young detective named Gil Carrillo from the Los Angeles County Sheriff’s Department and the legendary homicide investigator Frank Salerno. As they worked tirelessly to solve the case, the media hounded their tracks, and panic gripped California.Told through harrowing first-person interviews, gripping archival footage and spectacular original photography, this four-part series represents the definitive telling of this iconic L.A. real-life horror story, painting a portrait of how it felt to live in fear at a time when absolutely anyone could be the Night Stalker’s next victim. Night Stalker: The Hunt for a Serial Killer director Tiller Russell joins us to talk about his deep dive into truly terrifying chapter of Southern California history, capturing the palpable fear that gripped and connected so many communities in 1985 and the people who brought Richard Ramirez to justice.
Mickey Reece’s mind-bending latest film, CLIMATE OF THE HUNTER immerses us inhttps://youtu.be/vOT3l77LTZc the story of two sisters, Alma and Elizabeth, along with a dog who’s described as a “philosopher,” have come to Alma’s remote house to reconnect with Wesley after twenty years. Alma is recently divorced, Elizabeth is a workaholic in Washington, D.C., while Wesley lives in Paris dealing with a wife recently struck with a fatal disease. When the three come together for dinner it has all the makings of a lovely adult melodrama about loneliness, and the desire to connect and share our lives with someone… but we must add to the mix one otherworldly piece of information: Wesley could be a vampire. CLIMATE OF THE HUNTER stars Ginger Gilmartin, Mary Buss, Ben Hall, Danielle Evon Ploeger, Laurie Cummings, and Jacob Ryan Snovel. Director Mickey Reece (Arrows of Outrageous Fortune, Mono) joins us to talk about his shadowy slow-burn, stylized cinematic mind-f**k of a story.
“Climate of the Hunter never sacrifices its smarts for fun (or vice versa), but with its dazzling visuals and hypnotic descent downwards into a seemingly inevitable chaos, the film’s delights are ultimately as sensorial as they are intellectual” – Alexandra Heller-Nicholas, AWFJ Women on Film
“Climate of the Hunter captures the 1970s perfectly and crafts a beautiful film filled with a central mystery that builds in every revelation.” – Amanda Mazzillo, Film Inquiry
“Climate of the Hunter is for anybody who, when dining out, feels compelled to try (and hopes to love) the weirdest item on the menu.” – Simon Abrams, RogerEbert.com
“This weird little slice of vampire movies is definitely not your average bloodfest. It’s odd and dreamlike and one of my favorite films I’ve seen so far this year. So give it a shot!” – Lorry Kikta, Film Threat
YELLOW ROSE features Eva Noblezada, who is joined by fellow Miss Saigon alum and Tony Award winner Lea Salonga. The film follows Rose Garcia, a 17-year-old Filipina American in Texas. When her mom is arrested by Immigration and Customs Enforcement, Rose undertakes a musical journey while facing deportation back to the Philippines. Inspired by the music of country musicians like Patsy Cline, Loretta Lynn, and Willie Nelson, the original composition accompanied by Noblezada’s captivating voice becomes the soundtrack of Rose’s wanderings akin to American westerns. YELLOW ROSE Director Diane Paragas joins us to talk about her warm-hearted tale of a young woman’s determination to fight back against the cruelty of a heartless immigration system while pursuing her own version of the American Dream deep in the heart of Texas with Austin’s music icon, Dale Watson at her side.
Yellow Rose is available on Digital now and on Blu-ray and DVD January 5
About the filmmaker – Diane Paragas is an award-winning director, editor, cinematographer and producer of commercials, narrative features and documentaries. IN 2012, Paragas co-directed Brooklyn Boheme, a feature length documentary about an African American arts movement, with writer and critic Nelson George. The film featuring Spike Lee, Chris Rock and Rosie Perez to name a few. The film was acquired by Showtime and won a Black Reel Award for Best Documentary. In 2019, Paragas wrote and directed her debut narrative feature, Yellow Rose, about an undocumented Filipino-American teen pursuing a dream to become a country music singer. The film won over a dozen Grand Jury Prizes during its festival run and will be released by Sony Pictures in 2020. She is also in pre-production for a bold feature documentary about a wrongfully convicted undocumented immigrant called “The Three Lives of David Wong” that uses puppetry to tell its story. The film was is supported by The Sundance Institute, The Bertha Foundation Grant and CAAM. Ms Paragas is a 2020 recipient of the prestigious Creative Capital Award and was named as A100’s Most Impactful Asians of 2020 alongside directors Bong Joon Ho, Taika Waititi and Lulu Wang.
“The film beautifully captures the struggles of a young woman to find her voice and a sense of belonging in an often hostile world as it celebrates the joy of making music and its power to provide hope.” – Loren King, AWFJ Women on Film
“Diane Paragas’ film finds fresh ground to explore the price and the power of the American dream, bolstered by country crooning and heartbreaking (and very real) legal worries.” – Kate Erbland, indieWire
“An affecting portrayal of a young woman finding her footing against all odds, and claiming her home in a nation that makes it unduly challenging.” – Katie Walsh, Tribune News Service
“The lean screenplay and [Diane] Paragas’ focused creative vision makes for a singular directorial feature debut that feels like nothing else happening in film right now.” – Beth Sullivan, Austin Chronicle
Heaven’s Gate: The Cult of Cults is a thorough examination of the infamous UFO cult through the eyes of its former members and loved ones. What started in 1975 with the disappearance of 20 people from a small town in Oregon, ended in 1997 with the largest suicide on US soil and changed the face of modern New Age religion forever. This HBO Max four-part docu-series uses never-before-seen footage and first-person accounts to explore the infamous UFO cult that shocked the nation with their out-of-this-world beliefs. Director and Producer Clay Tweel joins us for a rollicking conversation on one of the most sensational and compelling collection of intelligent, engaging, and spiritually inspired people to ever embrace a collection of beliefs, brought to them by former minister and natal nurse, that eventually led them to hitch a ride on an undetectable space ship heading for parts unknown.
In the beginning… The son of a Presbyterian minister and a former soldier, Marshall Applewhite began his foray into biblical prophecy in the early 1970s. After being fired from the University of St. Thomas in Houston, Texas over an alleged relationship with one of his male students, he met Bonnie Nettles, a 44-year-old married nurse with an interest in theosophy and biblical prophecy, in March 1972. According to Applewhite’s writings, the two met in a hospital where she worked while he was visiting a sick friend there. It has been rumored that it was a psychiatric hospital, but Nettles was substituting for another nurse working with premature babies in the nursery. Applewhite later recalled that he felt as though he had known Nettles for a long time and concluded that they had met in a past life. She told him their meeting had been foretold to her by extraterrestrials, persuading him that he had a divine assignment. – (from Wikipedia)
About the filmmaker – Clay Tweel is a native Virginian living in Los Angeles, California. Clay is a documentary director/producer/editor with a passion for telling great character based stories. His works include Make Believe, Print the Legend,Finders Keepers, Out of Omaha and Gleason – the last of which was shortlisted for an Academy Award and named one of the 5 best documentaries of 2016 by the National Board of Review. His features have been distributed by Showtime, Netflix, and Amazon Studios while working closely with companies that include Open Road, The Orchard and Exhibit A. Most recently, Clay executive produced and directed all six episodes of The Innocent Man, a true crime doc series for Netflix based on John Grisham’s only non fiction book. He is currently directing a feature documentary and producing numerous projects under his banner Parkside Films.claytweel.com
About the filmmaker – Shannon Riggs is a producer with a diverse background in film spanning multiple genres and scales. Alongside award winning director Clay Tweel, she produced the Netflix 6 part docu-series, The Innocent Man, and the Academy Award shortlisted documentary Gleason. Recently Shannon produced The Smartest Kids In the World based on Amanda Ripley’s New York Times bestseller, which premiered at DOC NYC in 2018 and was directed by Sundance Grand Jury Prize winner, Tracy Droz Tragos. Shannon was a Sundance Fellow and participant in their 2015 Female Filmmaker Initiative. She is also honored to be a member of Women in Film and actively mentors young filmmakers through various industry programs. She is currently producing a feature documentary and numerous projects under her banner Parkside Films with co-founder and director Clay Tweel.
86% on Rotten Tomatoes
“Heaven’s Gate: Cult of Cults is a thoughtful assessment of the mechanisms of how otherwise smart, savvy people are attracted to fringe beliefs. It takes a story that is larger than life and brings it solidly back to earth.” – Ashlie D. Stevens, Salon.com
“What The Cult Of Cults does very effectively is tell the story of the organization, showing why it attracted members and held onto them for so long.” – Joel Keller, Decider
“Viewers may bob in and out during the first few episodes, though it’s worth sticking out for the grand finale, as sickening as it is oddly poignant.” – Ryan Lattanzio, indieWire
“The human toll isn’t lost among the kooky, UFO-centric beliefs of Ti and Do’s followers.” – Beau North, The Spool
Tandem Pictures is a leader in conceiving and implementing eco-sustainable filmmaking practices in the indie film space,with all of their productions following Environmental Media Association standards and the Producers Guild’s Green Best Practices. They’re also an advocate for how these practices – from using hybrid vehicles on set, to having the sound and camera teams use rechargeable batteries, to composting and using metal straws – can and should be adopted industry-wide. Female owned and operated, it is Tandem’s mission is to bring female talent and narratives to the forefront. They embrace female-centric storytelling, and pride themselves on the fact that the casts and crews of their films are composed of underserved and underrepresented minority groups, LGBTQIA, and women.tandempictures.com
JULIE CHRISTEAS – Tandem Pictures – Founder, Chief Executive Officer Julie’s recent films include BLACK BEAR (Sundance 2020) starring Aubrey Plaza, Christopher Abbott and Sarah Gadon which will be released later this year by eOne/Momentum and THE SURROGATE (SXSW 2020/Monument Releasing) . She also executive produced the cult horror favorite THE EYES OF MY MOTHER (Sundance 2016/Magnet Releasing), MONOGAMY (Best NY Narrative, Tribeca Film Festival 2010), the feature doc DUKALE’S DREAM starring Hugh Jackman, and GHOST TEAM starring Jon Heder, David Krumholtz, Justin Long, Amy Sedaris and Melonie Diaz. Previously she produced BLOOD STRIPE (Jury Prize for Best Narrative Film, LA Film Festival 2016), WILDLIKE starring Bruce Greenwood and Brian Geraghty (HIFF), and THE SLEEPWALKER starring Christopher Abbott and Brady Corbet (Sundance 2014/IFC).
JONATHAN BLITSTEIN – Tandem Pictures – Co-owner, Chief Operating Officer Jonathan’s most recently produced the acclaimed films THE SURROGATE, and BLACK BEAR (SUNDANCE, EOne/Universal release) starring Aubrey Plaza. Prior to Tandem he worked in production and branded entertainment for Vudu, Sony and Disney, supporting Fortune 500 Brands such as Walmart, Sprint and Covergirl. At Oracle (formerly CrowdTwist), he initiated the creation of Marvel Studios’ first nationwide fan loyalty program Marvel Insider. In his early career, he made two micro-budget feature films LET THEM CHIRP AWHILE and ANOTHER KIND which both premiered at the Woodstock Film Festival which were distributed on Netflix and VOD. Early career roles include marketing arthouse films such as Park Chan Wook’s OLD BOY, and Noah Baumbach’s SQUID AND THE WHALE.
In Massoud Bakhshi’s riveting new film, Yalda – A Night for Forgiveness, Maryam is a 22-year-old woman, who has been sentenced to death for murdering her 65-year-old husband, Nasser. Iranian law allows for the victim’s family to forgive her and spare her life, so Maryam’s fate will be decided by Nasser’s daughter, Mona, 37, on the country’s most popular televised reality show. In front of millions of viewers during Yalda, the winter solstice celebration, Maryam and Mona discover that forgiveness can be difficult as they relive the past. Director and screenwriter Massoud Bakhshi brings aesthetic energy and dramatic intensity to a story that unfolds over a few hours and almost entirely within the studio. Compelled by the social complexities of contemporary Iran, Bakhshi started as a documentary filmmaker, during which time he met several women who had murdered their husbands. Their stories stayed with him as he developed this powerful exploration of women characters. Although Maryam and Mona are condemned in some way and subject to Iran’s profound patriarchy, they find agency, moral authority, and freedom within those confines. Winner of the 2020 Sundance Film Festival Grand Jury Prize: Dramatic Yalda, a Night for Forgiveness elucidates Iran’s vibrant, modern identity alongside its deeply traditional culture.
About the filmmaker – Born in Tehran, Iran, in 1972, Massoud Bakhshi has worked as film critic, scriptwriter and producer, before making 12 documentaries and short films which were awarded internationally. His first feature film A Respectable Family was selected at Cannes Film Festival 2012 (Quinzaine des réalisateurs). Yalda, a night for forgiveness is his second feature film, selected at the World Cinema Dramatic Competition Sundance Film Festival 2020 and at the 70th Berlin International Film Festival Generation 14+ Competition 2020.
2020 SUNDANCE FILM FESTIVAL – GRAND JURY PRIZE World Cinema Dramatic Competition
The feature film debut of director Darius Marder,Sound of Metal, chronicles the life of Ruben, (Riz Ahmed) an itinerant punk-metal drummer. During a series of adrenaline-fueled one-night gigs, Ruben begins to experience intermittent hearing loss. When a specialist tells him his condition will rapidly worsen, he thinks his music career — and with it his life — is over. His bandmate and girlfriend Lou (Olivia Cooke) checks the recovering heroin addict into a secluded sober house for the deaf in hopes it will prevent a relapse and help him learn to adapt to his new situation. But after being welcomed into a community that accepts him just as he is, Ruben has to choose between his equilibrium and the drive to reclaim the life he once knew. Utilizing startling, innovative sound design techniques, director Darius Marder takes audiences inside Ruben’s experience to vividly recreate his journey into a rarely examined world. Director and screenwriter Darius Marder joins us for a conversation on technical challenge of creating a cinematic language to meet the demands of telling Ruben’s complex story, creating an environment for remarkable performances from Riz Ahmed, Olivia Cooke and Paul Raci and his collaboration with fellow director Derek Cianfrance (The Place Beyond the Pines).
About the filmmaker – DARIUS MARDER (Director, Writer) is a writer and director making his narrative feature directorial debut. His film Loot was awarded the Best Documentary Feature prize at the 2008 Los Angeles Film Festival, received five Cinema Eye Honors Award nominations and earned Marder an Independent Spirit Award nomination in the Truer Than Fiction category. Marder then co-wrote The Place Beyond the Pines with Derek Cianfrance and Ben Coccio. The original screenplay won the trio a PEN Literary Award in 2014. The following year Marder and Cianfrance co-adapted S.C. Gwynne’s Pulitzer Prize finalist Empire of the Summer Moon for Warner Bros. The film will go into production in 2021 with Cianfrance directing.
“As Ruben’s fear and rage begins to open itself to the unknown, the movie reaches toward something profound – finding real, furious power in the spaces between the sound.” – Leah Greenblatt, Entertainment Weekly
“An engrossing deeply affecting, meticulously crafted movie. The tone is straightforward and naturalistic. The camera focuses on intimate connections between the characters. This is a thoughtful, grounded, human scale film.” – Karen Gordon, Original Cin
“The film is profound, frightening, uplifting and, yes, actually breathtaking at times, and you’re not likely to take your hearing for granted anytime soon afterward.” – Brian Truitt, USA Today
“It’s a devastating, poignant, and ultimately hopeful film, especially for a side of humanity that rarely sees itself portrayed on screen.” – David Fontana, Film Inquiry
In her riveting feature film debut, THE SOUNDING, Catherine Eaton also stars as Liv, a young woman who has never spoken, raised on a remote island by her grandfather Lionel (Harris Yulin, “Ozark”). When Lionel discovers he’s dying, he calls the driven, privileged son (Teddy Sears, “The Flash”) of his best friend to the island and asks him to protect Liv’s independence, alongside Lionel’s attorney (Frankie Faison, “The Wire”). That night, as Lionel is reading to Liv, his voice fails him. Liv picks up the book of Shakespeare and begins – first reading, then weaving a new language from Shakespeare’s words. She is committed to a psychiatric hospital and becomes a full-blown rebel in the hospital; her increasing violence threatens to keep her locked up for life as she fights for her voice and her freedom. At a tipping point for otherness in our current climate, THE SOUNDING champions it. Director Catherine Eaton joins to talk about the origin story for THE SOUNDING, the challenges and rewards of being on both sides of the camera and the supportive cast and crew who made the film such a success.
About the Filmmaker – Catherine Eaton’sfeature debut as a director and writer, The Sounding has won two-dozen awards on the festival circuit. She was chosen for Tribeca Film Festival’s ”Through Her Lens” Lab and Grant for emerging female directors, and was selected as a Shadowing Director for show runner Ryan Murphy’s Half Program on the hit Fox show “9-1-1.” Her pilot script “Breaking News” – based on her personal experience working with freelance news crews in conflict zones – was selected for IFP’s Project Forum and as a finalist for the Screenwriters Colony. Catherine shared an Emmy with the production team on “The Human Toll of Ethanol” for Bloomberg TV, and did freelance production work for various news crews for five years. As an actor, she’s been seen on Broadway, TV and film, and was nominated for a Helen Hayes Award for Best Actor in a Leading Role. Catherine teaches Screenwriting at Harvard University.
When it was released in 1987, The Monster Squad was deemed a failure by critics and was, according to the box office, a film no one cared about. But over the last three decades, word of mouth has turned this sleeping hit into a cultural phenomenon. WOLFMAN’S GOT NARDS explores the relationship a dedicated audience (including celebrities and filmmakers) has with The Monster Squad. The film takes an in-depth look into the film’s conception, response, cult status, and revival. Through interviews with the cast, crew, screenwriters, directors, academics and original reviewers as well as through never-before-seen footage, it turns the lens on an audience of self-proclaimed misfits who have kept The Monster Squad alive for more than 30 years. Director Andre Gower and Monster Squad member, Sean, joins us for a lively conversation on the unlikely saga of a box-office bomb that, like the squad, refuses to give up, and a community of fans that continues to grow.
About the filmmaker – Director André Gowerhas 40 years of experience in the entertainment industry, making him one of the most recognizable child stars of his generation. His body of work includes network series, movies of the week, and features. He is best known for playing the lead character in the cult classic The Monster Squad. Currently, André heads Fitterpiper Entertainment, a production company focusing on young independent filmmakers, new concepts from industry veterans, experimental digital concepts and short films with a roster of production professionals. He also co-hosts the short film series ‘Short Ends’ (Nerdist/ALPHA) and a podcast, ‘Squadcast with Ryan and André.
“There’s so much to cover, and Gower and his crew do an astounding job of being as thorough as possible.” – Kyle Anderson, Nerdist
“Watching these films – and this documentary – generates the type of joy we only felt as kids, as well as evoking the warm fuzzy feeling that nostalgia brings.” – Katie Driscoll, Starburst
“As a whole, I cannot recommend Wolfman’s Got Nards enough for those who love The Monster Squad, for fans of the horror genre, or even for anyone who has ever felt misunderstood by the world at large.” – Heather Wixson, Daily Dead
Inspired by a New York Times No. 1 bestseller,The Way I See It is an unprecedented lookbehind the scenes at two of the most iconic presidents in American history, Barack Obama and Ronald Reagan, as seen through the eyes of renowned photographer Pete Souza. As official White House photographer, Souza was an eyewitness to the unique and tremendous responsibilities of the most powerful person on Earth. Award-winning filmmaker Dawn Porter’s The Way I See It also reveals how Souza transforms from a respected photojournalist to a searing commentator on the issues we face as a country and a people. The Way I See It also traces Souza’s fearless public transformation from chronicler of history to critic of an administration he believes is destroying the legacy of empathy, honor and hope that he witnessed during his 13 years at the White House.Inspired by his two bestselling books, Obama: An Intimate Portrait and Shade: A Tale of Two Presidents, and featuring more than 400 of his photos, the film is an emotional and stirring reminder of America’s pledge of a government for and by the people. Director Dawn Porter joins us for a conversation about the personal journey of an accomplished photojournalist turned activist and when it comes to the most powerful person in the world, why judgement, perspective, honor, and empathy matter.
MSNBC Films premiere Friday, October 9th, 10:00pm EDT
About the filmmaker – Dawn Porter (Director, Producer) is an award-winning documentary filmmaker whose work has appeared on HBO, PBS, Discovery and Netflix, among others. A two-time Sundance Film Festival director, Porter may be best known for her film Trapped, which explored laws regulating abortion clinics in the American South. The film won the Special Jury Award for Social Impact Filmmaking at Sundance in 2016, in addition to a Peabody and numerous other awards. Porter’s 2013 documentary Gideon’s Army premiered on HBO and won Best Editing at Sundance. Gideon’s Army was nominated for both an Independent Spirit Award and an Emmy Award, and is part of the U.S. Department of State’s American Film Showcase. More recently, Porter completed John Lewis: Good Trouble, a feature documentary about the late congressman that will be distributed by Magnolia Pictures and CNN Films. Porter has been commissioned to make films for the Center for Investigative Reporting, Time and Essence magazines, The New York Times Op Docs and Amazon. Her work has received generous support from the MacArthur Foundation, the Ford Foundation, Tribeca Film Institute, Sundance Film Institute, Chicken & Egg Pictures and other esteemed organizations. The filmmaker is a member of the Academy of Motion Picture Arts and Sciences, the Academy of Television Arts & Sciences, and the Directors Guild of America.
“If you’ve seen Dawn Porter’s John Lewis documentary, you’ll fall in love with this candid look behind the scenes with a former White House photographer in her new documentary The Way I See It.” – Carolyn Mauricette, View From The Dark
“It’s effective because it gives us momentary relief and validates our rage while asking once again for us to have hope and to keep moving ahead.” – Allyson Johnson, The Young Folks
“Chief White House Photographer Pete Souza and the makers of The Way I See It kindly remind us what decency looked like not so long ago.” – Brigid Presecky, Impressionist Media
“Filmmaker Porter delivers a blisteringly-paced documentary that is, virtually from start to finish, nothing short of fascinating…” – David Nusair, Reel Film Reviews